Tehran Art Book

Tehran for me is not just a city; it is an endless performance, a utopia similar to the United States, with thousands of ethnicities and their thousands of dreams living in its thousands of neighborhoods, without understanding each others’ worlds! Art is the only place that allows equal opportunities for entry to these thousands of peoples. Art, like always, has remained democratic, albeit in a very undemocratic context.
Tehran Art is not a trend. It is not a personal collection, or a sign of my own chauvinism either. It is an on-site research of a capital that is in constant change. No one thinks of Tehran as his permanent home, but there is a sense of the eternal about Tehran! Tehran during the Pahlavi era was the King’s island of stability, but overnight, it became the capital of all instabilities. Tehran, with its population of eight million, never sleeps, and its art continuously wakes us from our stupor. Tehran is a circumstance. It is gray and threatened by earthquakes. It has no oil or sea, but makes the headlines everyday on these topics. Tehran is in constant suspension. It moves a few meters everyday. It has no center, and no perimeter, and its neighborhoods are being torn apart by its freeways. Tehran has cold, unrelenting winters, and hot, suffocating summers, but once upon a time, it was the summer destination for Qajar kings!
Tehran is in a permanent state of anticipation, and this anticipation can be felt in its art. Tehran is the city of conflicts, from the outer appearance of its inhabitants to there internal essence. Tehran has no souvenirs nor “real” Tehranis, but being from Tehran is considered a status symbol in Iran. To speak urbane Farsi, one must have a Tehrani accent. Tehran is the most beloved, but least likable city in the world.
Tehran’s art shows us how its contrasting multitudes live next to each other. This book is a guide for understanding Tehran, but one cannot observe the Tehran of this book through a cautious lens. For many, Tehran is more or less like this book itself. The only difference between the two is that the Tehran of this book is colorful, as it attempts to push aside the city’s grayness in order to expose its reality.
There has been an attempt to avoid personal preferences in selecting the works in this book, but this does not mean that it was a free for all. There are only some aspects of Tehran’s experimental art missing from this book, which will be published in future volumes. This is a Tehran where life is easier than it is on Tehran’s rough streets.
For myself and many others, Iran is summed up in Tehran.

Montakhab Nasle no

The 6th montakhab nasle no  |  2-14 Mar.2012
“Montakhab Nasle No” or better say the selected among the new generation  was born in the days that Iranian art, was still  dominated by modern art and the lack of the presence of the new generation was very evident. There was no choice except that young artists were given equal opportunity and despite the plurality and the possibility to rehabilitate, but inevitably it was considered the only non-discriminatory manner.
In all previous “Montakhab Nasle No” periods until this forthcoming one which will be the sixth year, it has been tried not to claim a certain judgement and this approach has been selected as the main foundation of the “Montakhab Nasle No” resolution.
The only way to be constraint to this approach is by changing the arbitrators and administrative personnel. But despite all, “Montakhab Nasle No” is still influenced by the outcome of the atmosphere of visual arts every year, and it is not considered deficiency by rather consider it as a realistic characteristic and representation of  the annual “Montakhab Nasle No.”
In general each period is based on a principle that a certain gap between demand and transient likes or dislikes should be created to preserve the cultural arts, obviously there is no claim on its inerrancy.
On the other hand the procedure for rejecting and confirming the art works is the result of the knowledge and perspective of the arbitration board and we hope that like previous years “Montakhab Nasle No” maintains its independency and to avoid oppression and that the years ahead will also find the same continuity.
I would also like to use this opportunity to thank my colleagues and not only friends, Shirin Partovi, Ehsan Rasoolof, Hassan Hamedi, & Ehsan Lajevardi, whom with their empathy and sympathy, unsparingly were helping and working along our side. And at the end it is just a reminder of the name we have known for the past six years, “Montakhab Nasle NO”, which was a wish of one person, Parviz Maleki, whose dream was to promote art and culture of his country, so we also commit ourselves and remember his name and hope that the small seed he once planted will one day become a robust and sturdy tree.
Hengameh Moameri
Director of “Montakhab Nasle No”
Winter 2012

Mohammad Harati Painting Exhibition

On Friday January the 6th

The exhibition is on view through Friday January the 13th

From 11:00 am to 8:00 pm

On Fridays from 4:00 to 8:00 pm

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